
„ ... , e. *■ o h o ’ ’° t 

* ' // x* Cv «* v * o + V?v 




%»...• , 

v 

Cc c* * AX eiif At <?*- v 

*>* rv\\ v'\ / /h c 

as CvXV^rW,'//) <\ 


«6 > 


* ft v> %<• 
> -V 



. ^ v* . , 

>* 0 9 c- a *^l^* <j> "%■ h 9 c- " 

U "> ’"* ' .A . V * 0 , * * "“ A 5 * 0 ' c* „ V . O +- 

'* a a* + v .v .a t- .« a.* *> 





0 N 0 


C: 


V> 11 

’ ,0' 

0 ^ * ' * 0 A 

%-. A * iM » ^ A 


o>' ^ 

" •** •, 
O * 



i ^ ^ ,V-‘ 

* n '■* A 

v x , s 


s * <■ /• 


r£- y * 

A. * 


.0 s o ^ A 
A* 


8 1 ^ 



V' A 


v V' * 
,\V «j 



.V 5 ^ = 

^ v/ <*• 

/‘ 1 » * s " <p X . „ <, y o « X * A 

cP'A^ ^ ./,>*J,‘', -o, 

V ® Wi a 

x°^. : ' ’ 



'tP r 0 \V 

if* <\* 


c A 
,v <?' 


O A s s S A 



O 0 


v A" 




* 9 " * 'v>*\ * *^jV* ’ K 0 < * o So * ,,% 

’ . A jttwXjstL. * ^ a ^ (2 si * -P 

O 

as 7 

z 





v 




\r> A' 

t/> .< v 



\ 




V </\ 



A 


s'.\ 

# »' *, 



^ \V 

6 N 'tic, o ' 5 ' 

\> A’* r,, > 3 N ,9 V ,A *«a 

$* y> ^ ^ 

- v * 


<$> <$ 


c 



.V </> 


/% ^WA A 






"o 0 s 


V ,f> 


\> s"*’ A, > . 9 ^ *A ^ 



,- 0 ’ v*' . A '<s=L.. c ° N 0 * 


ft ft 'y 


v v 




^ *• O Cj, * 



'o o'* 


>»' ,\V 


^ * 


M A. 


a A -. mm : A % 

•k -\ C) ^ J s s < 0 X <*■ 

A.<-° w ‘«Ao, ** A v» l,,< ^ 


o * y 



* 


o 0 



& y 

f 0> A A w O, "A 
AS> c» Nc »A- 

\ < 4 , ' 


«V ii *y 


A V^ 


«y A A» W 
A A ^ 

" \V s * , ^>. v 0 s 0 

) S ^ r /y ^ . 

\ ^kOmAnf^^ y *A 


r^i ^ Oo ' < - 

<* o ^ 

* “ - " 5 f 0 ' _ _ » 8 t A 



o o x 




0 


1 * o 




V s 



I 





' ' * At 






































Reading Character 

FROM 

Handwriting 


A 

HAND-BOOK of GRAPHOLOGY 
FOR 

EXPERTS, STUDENTS AND LAYMEN 




BY 


Hugo von Hagen, Ph. d. 
A H 


WITH 140 ILLUSTRATIONS 


New York 

R. S. Mighill & Company 
1902 


C *H 1 - 



Copyright 1902, 
by Hugo von Hagen, Ph. D. 

ALL RIGHTS RESERVED. 








































































































- 


































































































































































































































































■ 
















































































































































“Surely people must know themselves, so few 
ever think about any thing else. Yes, they think 
what they have, what they shall get, how they 
shall appear, what they shall do, perchance now 
and then what they shall be, but never, or hardly 
ever, what they are.” 

Guesses at Truth. 


There are several reasons for the existence of this 
little hook. First of all perhaps, the oft repeated re- 
quest of many friends, who have enjoyed with me 
fascinating hours in the study of graphology, and who 
urged me to publish the results, which I had attained in 
a score of years of successfully reading character from 
handwriting. — Then, to encourage the study of graph- 
ology among the u 1 students of men,” might be cited as 
another reason and also the great need for reform in 
our court methods of employing as handwriting experts 
so many men, who have absolutely no knowledge of 
graphology. To the kind friends, who have favored 
me with handwriting specimens for the illustration of 
this volume, I herewith express my cordial thanks. 
Perhaps, some may recognize their writing, and may 
not like the analysis of the same. These friends may 
rest assured that no one except themselves will know 
their writing, and as graphology always speaks the 
truth, no one will tell about his own writing in this 
little volume, unless the aiialysis is good. 

Hugo von Hagen, Ph.D. 


New York City. 





































































































































































































































































































































































































































































































































































Graphology. 


The importance and value of knowing the true char- 
acter of other people is the reason for the many trials 
and experiments made in the past to ascertain this. 
To secure such a knowledge in the most rapid and sure 
manner, many different ways have been tried, but of all 
methods used so far, the one proven to be the most cer- 
tain and positive, is the Science of Graphology, or the 
art of reading character from handwriting. 

The position of graphology to other branches of 
physiognomy might be mentioned here; physiognomy 
here being used in its broadest sense. We could divide 
the latter into two principal parts; the diagnosing of 
character from quiet or motionless positions of the body, 
or, on the other hand, by and from voluntary move- 
ments. Phrenology and palmistry for instance, which 
have created so much interest lately, belong to the first 
class, but phrenology and palmistry limited in their use 
and application are not always certain in their results, 
as they both necessitate a presence of the person whose 


2 


character is to be read or analysed. It is comparatively 
easy for many, and especially for intuitive people, to 
know a person by his voice, or his manner of walking, 
and to draw therefrom further conclusions as to his 
character. 

Writing is nothing but a number of movements, 
which have become visible immediately after being 
made, and which remain so, and in this way they are 
different from other movements of the body. It is 
therefore much less difficult to analyze handwriting 
than any other movements, like facial expressions or 
different ways of walking, etc., which disappear again 
or necessitate a presence of the person whose character 
we wish to analyze. 

Let us take for instance two children who are sent 
to school by their parents when about six or seven years 
old. These children learn to write by copying from the 
blackboard or from the printed writing books. The 
teacher perhaps draws on the blackboard single letters 
or words with chalk. At first he draws and teaches 
straight lines, then curves and later combinations of 
both. The children do their best to copy them and are 
taught how to imitate each letter correctly and in the 
best manner. Now this writing is nothing but a number 
of fixed movements of the hand and arm, coming from 
impressions made upon the brain through the eye. 
Through repeated copying and much writing of the 
same letters, their form is firmly impressed upon the 
minds of the children, and they are soon able to write 
without looking into the copy book or upon the black- 


3 


board, writing or making letters from memory only. 
It is not always only the right hand which is able to 
construct and write these learned letters, but many chil- 
dren are left-handed, and write with their left hand, 
others can write with either hand. Still others are able, 
through necessity, being cripples without arms perhaps, 
to write with their feet or even with their month. — No 
matter how beautifully these children write at first, or 
how much their letters seem to be just like their teach- 
er’s copy, — no matter how carefully they have been in- 
structed nor how correctly and rapidly they can write 
each different letter and its combination, an expert will 
quickly show you little differences between the writings 
of the two children. In some way there came into each 
writing the first “characteristic” signs of their hand- 
writing. To understand and analyze these various 
signs, the graphologist must of course be well acquaint- 
ed with a knowledge of the copy books from which the 
children learned. He must know the different systems 
and styles of writing in vogue, in order to come to posi- 
tive conclusions. 

Let us take a look into the psychology of writing. 
Every child possesses a considerable number of charac- 
teristic and individual movements or motions long be- 
fore entering school for the first time, that is, before it 
learns to write. Have you not seen or known the little 
boy who so quickly becomes fretful and angry? He is 
of the kind whose head goes up in the air with a jerk, 
or whose foot comes down on the floor with a thud, when 
you hear him say: “I won’t!”, and can you not recall 


4 


that other little boy who clings to his mamma and 
strokes her cheeks, saying, “ I love you mamma dear.”? 
The angry little fellow made nothing but jerky, sharp 
movements, while the loving boy and his mother made 
none but those which were rounded and gentle, without 
sharp and angular “movements and jerks”. These two 
different temperaments you will find reflected in the two 
boys’ handwriting, one of which will make letters round 


V (mX A ^ ^ytVL/iA±— 


Fig. I. 

A PPW Lines PR OM THP BORDPRPAV 

WHICH CAP’TDREyPl/S UVASACCt/SEQ OF 

H AViri<4 Writt&iyJ 


and harmonious, easily flowing, while the other’s writing 
is likely to be sharp, angular and jerky. 

After the child has learned how to write and is able 
to make all letters of the alphabet from memory, we 
begin to see a great many differences and exceptions 
from the original blackboard copy. The entire writing 
seems to be more sloped or less slanted than prescribed; 
the t dashes have become longer or shorter, the i dots 
are put much ahead of the i or higher up than neces- 


5 


sary, or we find them in advance of the i ; now and then 
we find a little hook added to the last letter of a word. 
These changes and many others have come to the child 
entirely involuntarily. The child did not practice to 
make them, nor learn or copy them, it simply could not 
help making them, no matter how much teacher or pa- 
rent did scold and correct, these characteristic signs 
would remain, and they become more and more fixed as 
the child grows older and is less under supervision and 
restraint of school or home. In later life come perhaps 






Handwriting or 8 - Cap't Drbypus. 
P tcSZ. 


either simplifications of the writing, or additions and 
flourishes; letters, which should he made round and 
curved are written with sharp and angular corners and 
movements or vice versa. And all this put together 
makes the individual handwriting. These involuntarily 
made changes, which we find in every handwriting, and 
which differ in each person, had their origin of course 
in the brain of the writer and not in his hand with 
which he wrote. We can prove this ourselves very 


6 


easily by writing upon tbe floor witb either one of our 
feet. Simply tie a piece of chalk or a pencil between 
the toes and draw some letters upon the floor. We will 
find that the same little characteristics of our hand- 
writing will appear also in this “foot-writing.” Any 
one can try experiments of this kind with his left hand 
or by holding a pen between the teeth. The result will 


£/><, 

CnA* * Aw 

Fi c 3, 

HAheowrciTinc; oi* Count &st»«haxY* 




always be the same, although the writing may not 
always be as graceful as if written in the usual way, 
proving without doubt that writing must be closely con- 
nected with the brain, and thus with the character of the 
writer. We can make exceedingly interesting experi- 
ments with hypnotism for instance, to prove our asser- 
tion. Naturally weak-minded, idiotic persons, or persons 
possessing little or no energy, were put under hypnotic 
influence and told that they were Napoleon I, General 
U. S. Grant or some other great and energetic personage. 
They were then asked to write a letter, thinking them- 


7 


selves to be Napoleon I, or someone else, and tbeir writ- 
ing showed the characteristic signs of energy and powei; 
on the other side, usually energetic and enterprising 
persons, being hypnotized, were told that they were 
children again, or had become old and feeble, and were 
asked to write. Their handwriting showed under these 





circumstances always the signs of weak and childish 
minds. It seems hardly necessary to say more than the 
above about the great possibility of drawing conclusions 
regarding the psychical peculiarity, or the character of a 
person from his handwriting. 

To fix positive signs and make true deductions by 
which a thorough analysis can be made, is the work 
which graphology has undertaken to do. Surely not 


8 


such an easy task as many seem to think, but a work of 
mighty importance and many years of toil. The best 
way for a student of graphology is to collect all kinds 
of handwritings, no matter who the writer. Collect and 




- 


p-»c. 5. 


compare the different specimens. Never mind the col- 
lection of autographs of great men; these may be nice 
enough for a collector, but not for the graphologist. A 
botanist would not collect only fragrant roses and beau- 
tiful lilies, but in order to study thoroughly and scien- 
tifically, he would collect as many different flowers and 
plants of all kinds as he could secure, no matter where 
they grew and what they were. Handwritings of labor- 
ers or plain every-day men are for the graphologist of 
as much importance as those of bankers or merchants. 
Every nationality, every profession, every trade, and 
every mind should be represented in his collection, for 
only by comparing and by looking for certain signs or 
characteristics among all the samples of handwriting we 
have collected are we able to carefully make our deduc- 
tions and our analysis. 


9 


It is necessary to quote a little of the history of the 
art of writing in order to answer questions regarding the 
origin of graphology. It was not possible to speak of 
it as long as letters or inscriptions were carved and cut 
into stone or engraved upon bronze, as in ancient times, 
for these were merely isolated signs and served more to 
show the art or ability of the workman, the stone cutter or 
engraver. There was little or no individuality in this 
style of writing, nor was there any in the “Graffitti” 
found in Pompeii and Rome, which contain only the 
daily happenings of the town and people and are even 
of but little literary value. — These might be considered 
to be in the same class as the regular calligraphic writ- 
ing of clerks or copyists of to-day. — When in later 
years these characters or letters were transferred upon 
linen, leather, skin or paper, individual peculiarities 
would creep in and have been discovered, but even here 
we must make certain distinctions. So, for instance, the 
oldest papyrii and the beautiful writings of the monks 
of the middle ages show us more the character of the 
time, period, age and people, than the individual char- 
acter of the writer himself. They might be classed 
more with the art of painting and we learned thus to 
distinguish between a Roman or a Gothic script and 
many others. But it is different with the time-periods 
when the art of writing became more and more known 
among all classes of people, when writing was used for 
individual and private purposes. In those times graph- 
ology found its origin. It is true that even the old 
Greeks and Romans noticed slight differences in the 


IO 


handwritings of certain persons and tried to draw con- 
clusions from the same, but nothing has been left to us 
which allows us to say that they were well acquainted 
with graphology. Suetonius tells us of the writing of 



tf 





F-ic.6. 




the Emperor Augustus, who would not begin a new line 
when he had only one or two words left over, but would 
write these underneath the last word on the line in very 
small letters, and then draw a circle or line around them. 
Suetonius does not tell us what his conclusion was re- 


& cot/ 

c&> 3$ 

c6c cc£& '77'UsyZ, 

cto €t£f 

P-tc. 7 . 










garding this peculiarity of the Emperor Augustus, but a 
modern graphologist can very easily explain that such 
a sign proves an economical, logical and practical char- 
acter, which seems to correspond with the character of 
Augustus, as far as we can learn from history. 



Fia. 9. 


The 17th Century brings us really the first actual 
trials to find in and from handwriting a means of learn- 
ing the character of the writer. The Italian writer, 
Dr. Camillo Baldo, issued a little pamphlet on graph- 
ology in 1622, but it contained no system, merely some 
remarks about the different styles of writing. Lavater 
and the German poet Goethe had considerable corre- 
spondence on the subject of graphology. Both were 


M 


diligently trying to find out why the handwritings of 
no two persons were alike, and why all showed some 
slight differences. They arranged comparisons of their 
different collected handwriting specimens in order to come 
to definite results. Their scientific studies were really 
the first which proved to be of any value to the science of 
graphology. Others became interested now and began 
studying. In Germany there were Grohman, Schlueter 
and Hock who wrote several fairly practical essays on 
the art of judging character from handwriting. Later 
came Adolf Henze, who created quite a little fun with 
his skill of “reading character”, but his gift was intui- 
tive talent only, and not deductive or scientific ability. 
In France much more progress had been made in the 
mean time. Here the Jesuit monks, Martin and Abbe 
Flandrin, labored much on the subject, and they perhaps 
followed the Italian Camillo Baldo’s former suggestions. 
But it was the Frenchman, Abbe Michon, who thor- 
oughly took up their work and gave us the first scien- 
tific system in his “Systemede Graphologie, ” (“L’art 
de connaitre les hommes d’apres leur ecriture.”) He 
also founded the first “Societe de la Graphologie” in 
France. The result is that throughout France graph- 
ology is recognized to-da}^ and acknowledged as a science 
much more than in any other country. The “Figaro”, 
one of the leading daily journals of Paris, has on several 
occasions printed, from handwriting specimens, full de- 
scriptions of the characters of prominent candidates for 
political offices, publishing them just on the eve of elec- 
tion. 















21 


During the last decade much has been done, through 
combined efforts, by quite a number of excellent graph- 
ologists to work out good and reliable systems and these 
latter represent much hard work and study. We might 
name among others Hans H. Busse, W. Langenbruch, 
Laura von Albertini, W. Preyer, Eugene Schwiedland 
of Germany, J. Crepieux-J amin of France, and O. Lom- 
broso of Italy. Still, the field is wide open yet and 
much remains to be done to perfect the science in find- 
ing more combinations. It seems strange that we prac- 
tical Americans have not yet done very much to further 
develop graphology, which can be so often made to be of 
good service to the initiated. 




^ V\vvv*-^ ^ ^ 

Fig 15. 


If you ask how graphology can help you, and each 
and every person, let me suggest just a few everyday 
matters in which the knowledge and ability to read char- 
acter from handwriting will be of great value. Suppos- 
ing a business man advertises for a book-keeper, for a 


22 


clerk to fill a position of trust, or for a cashier. He prob- 
ably receives several scores of letters in reply, all of 
them telling in glowing terms the ability, integrity and 
other good qualities of the seeker after the position. 
Even references are enclosed, or at least alleged copies 
of letters of reference from former employers. The mer- 
chant is somewhat bewildered by the many letters and, 
following the usual method, picks out the best written 
letters, sends for the writers and thus selects his new 
clerk or book-keeper, whose references appear to be all 
right. After a short time the new employee becomes 
negligent of his work, perhaps he cannot be trusted on 
account of drinking, or rumors of gambling are heard 
and all at once he is found no more at his desk. The 
employer will have to go through the same process again 
of getting another clerk and congratulates himself that 
he got off so easily, for the fellow might have been dis- 
honest and an embezzler. — And many times they are 
and take with them, when they leave, some of their firm’s 
money. — Now all this could have been avoided if a 
graphologist had seen the letters which were received in 
reply to the advertisement, and had picked out those of 
men whose handwriting showed honesty, faithfulness, 
energy and business ability and had thrown out those 
letters in which the writing showed signs of laziness, 
spendthriftiness, dishonesty, passion for gambling or im- 
morality. It is a strange fact that these latter signs are 
frequently found in handwritings which many people 
would pronounce to be “a beautiful hand.” Then again 
what a help graphology can be to the doctor in knowing 











PlG 16 . 


































35 

the disposition and temperament of his patients, to the 
lawyer in dealing with his clients, and to the pastor in 
knowing how and from what side to approach men and 
women regarding spiritual matters. How very helpful 
it would be to many young people in learning the true 
characters of their lovers before the wedding day comes 
around. How many unhappy marriages could be pre- 
vented! — A few years ago two young ladies asked me to 



read the characters of the writers of two letters which 
they gave me. I asked permission to take these letters 
home with me, as I found by glancing them over, pro- 
nounced signs of deceitfulness, dishonesty and immor- 
ality and did not wish to state an opinion off-hand, espec- 
ially as the young ladies told me that they were engaged 
to be married to the writers. I found my suspicions 
confirmed by carefully analyzing the handwriting of 
both letters and advised my young friends not to marry 
these men, and told them frankly what conclusions re- 
garding their characters I had formed from the speci- 
mens given me. One of the young ladies laughingly 


3 ^ 

replied that she knew her “Charlie” better than I did 
and that she was going to marry him, no matter what 
my advise, for he was all right and as true as steel. 
The other young lady had her suspicions aroused and 
having more faith in the science of graphology than her 
friend, broke off her engagement. Within six months 
of the day when I gave my graphological opinion and 
analysis to the young ladies, I learned that one of the 
men had been sentenced to spend seven years in a peni- 
tentiary for embezzlement. Being naturally much in- 
terested, I looked up the other young woman, who had 
married, and she greeted me with the words: “Oh 
Mr. von Hagen, had I only followed your advise! My 
life is a horrible life! Charlie is unfaithful to me, he 
drinks and gambles and I am so unhappy!” Comment 
is unnecessary. 

But most of all, graphology aids him who is desirous 
to know himself. “Know thyself!” saith the old Greeks, 
and it is surely very helpful to know one’s weak points, 
so that we can guard and fortify ourselves against them. 
On the other hand, it is just as good to know in what 
particular point we are strong, perhaps we may see our- 
selves in an altogether different light and manner and 
could do many things in a different way than before. 

Again graphology is helpful to the parents who do 
not know what talent or what qualities to develop and 
encourage most in their children. Perhaps the love and 
ability for a professional life is a great deal stronger in 
the boy than the practical business instinct or the love 
for technical pursuits. Why not strengthen and encour- 



2 

d. 










39 


age qualities in the child where success stands written 
out boldly, instead of foolishly making a business man 
out of a natural born preacher, or a preacher out of a 
practical business man, who has the natural gift to 
make money. 


/UJ~i\yO Ptb fluf\ 

^ fir 

tL^ tb J&U 

*u^bt L<M-xJ^y > /trr^tAX. ^JP^rc-Lf 


P’JG zz . 


There are many more practical uses to which graphol- 
ogy may be put and not to be forgotten is the work of the 
graphologist as handwriting expert in court. Generally 
men are selected as handwriting experts in murder and 
other cases because they have some theoretical knowl- 
edge of inks, pens, etc., and can write a so-called correct 
or beautiful hand. I had a conversation with a promi- 
nent judge once upon the employment of a certain per- 
son as handwriting expert in a celebrated poison-murder 
case in New York City and made the remark that this 
expert’s testimony was not correct, that it could be dis- 
proven very quickly by employing the known deductions 


40 


of the science of graphology. The expert’s testimony 
was given, of course, as “his opinion” only, but it was 
given under oath and carried weight with the jury. 

The judge replied to me: “Why Mr. writes the 

most beautiful hand I ever saw, he must be an expert, 
of course he is right. ” Quite a change will come when 
these old time handwriting experts, who belong to times 



tL. 

(L Yuuj 




P-xtZS. 


similar to the age of the inquisition, will be banished 
from our courts. Many cities of Germany, France and 
and other countries have for years already employed 
graphologists as handwriting experts with the most sat- 
isfactory results, so that even courses of instruction were 
arranged in colleges and universities. In detecting the 


4i 


writers of anonymous and slanderous letters or articles, 
graphology has often given such thorough clews to the 
courts or the police that it was easy to find the writer 
from the description given. 



People generally are of the opinion that handwriting 
experts and graphologists are the same, but this is an 
error. — Whenever truth finally came to light in court 
cases, and the findings of the courts were found to be 
wrong in relying upon the testimony of handwriting 
experts, it was also found that graphology had given 
her testimony in opposition. So in two cases lately 


42 


where two men had been found guilty and after being im- 
prisoned for three years, their innocence was proven. 
Both were convicted through so called handwriting ex- 
pert testimony, while the graphologists had declared it 







Pig. 


impossible for them to have written and signed the doc- 
uments in question. So has Capt. Dreyfus suffered con- 
viction because three of the five handwriting experts at 
his trial swore as their opinion that he wrote the famous 
‘Bordereau*. The other two experts who were graphol- 
ogists, said that he did not write it. The ‘Bordereau’ 



D— 



Pi 


43 


was published in one of the Paris papers in November, 
1896, and a score of graphologists of different countries 
were asked to analyze the same and also the specimens of 
the handwriting of Dreyfus, which were used during the 
trial. What was the result of their finding? “That the 
same person could never have written the ‘ Bordereau’ 
and the letters shown as Capt. Dreyfus’ writing.” Many 
similar cases can be cited and a revolution is sorely need- 
ed in our method of employing only so-called handwrit- 
ing experts in trials where not only financial matters 
and libel suits are involved, but where life or death is 
often at stake. 



We are pleased to give in illustrations Fig. 1, 2 and 
3 excellent specimens of a few lines of the i Bordereau’ and 
of the actual handwritings of Capt. Dreyfus and Count 


44 


Esterhazy, who was so closely connected with this cel- 
ebrated case, which may prove of interest to many 
readers. 

In some measure it is also possible to detect in hand- 
writing certain kinds of illness. For instance, nervous- 
ness is easily found and detected, also paresis or future 
insanity are frequently shown. Thus can a graphologist 
advise rest and quiet, or send to the physician the per- 
son, whose handwriting shows extreme nervousness, 
and in this way he may be able to help in preventing 
sickness more dangerous, as for instance nervous pros- 
tration and insanity. I very often have discovered 
heart disease in the writers of specimens of handwrit- 
ing, and advised the writers to call upon their physic- 
ians regarding it, who in every case confirmed my 
statements. 









It takes of course years of study and a long and 
constant practice to be able to read character quickly 



td 

N 

d 

£ 













47 


and correctly from handwriting, and no one should ever 
undertake to do so publicly unless he has made thor- 
ough tests of the correctness of his opinions from sev- 
eral thousand specimens. It will take at least two 
years of solid and hard work before one can say that he 
is able to read character from handwriting without 
making errors, and no one will ever succeed in this 
science who has not to some extent natural ability and 
a goodly amount of intuition and common sense. But 
the study of graphology is so fascinating, that many 
will find it not only profitable for their own benefit, but 
also very interesting and useful. 


frcrvu <y f 

§ Cj 0-4 -’' cLosCM-vJ OrJC 

. ?U> 

f-cul/v 


lM<y 'j.-t 




F-IO.Z9. 


It is not our desire to explain all the known theories 
of the science of graphology, nor to consider the preju- 
diced opinions of many writers against it. Whoever is 
inclined from the beginning to deny possibilities of 


4 8 


character-reading from handwriting, will never be a fair 
judge, nor will the clearest and best explanations I 
might offer, ever be able to convince him or change his 
mind ; this is only possible by the proving of the cor- 
rectness of the reading of one or more specimens of 
handwriting. — “ Come and see! ” is the best cure for the 
unbeliever. 




p-ig 30 . 


But we also do not desire to bother the beginner, who 
is free from prejudices, with any philosophical argu- 
ments or theories, and care not to contradict here the 
few, shortlived criticisms, which ignorant persons now 
and then offer. We do not think it necessary for the 
young student to know about them, and the professional 
and experienced graphologist will quickly read his way 
through all prejudiced arguments and opinions from 
handwriting specimens, so that he will be able to show- 
proof for his knowledge. 

It is well to have as good specimens for grapholog- 
ical purposes, the plain everyday handwriting of the 


49 


person whose character is to be analyzed, not so much 
the “ strained,” purposely fine or well written matter. 
Intimate letters to friends have proven to be the most 
desirous specimens. We all know that many people 
write an altogether different hand when writing official 
letters in their business than when sending letters to 
friends. And so is the calligraphic hand of the copyist, 


OnrytZx' 

2 " faisCnd luFffiLiAjcxi 

au£JZ_ k £-<?- 


31 , 


the beautiful business hand of the clerk or book keeper, 
or the straight vertical writing of the librarian, of little, 
yes almost of no value to the graphologist. I would 
even lay little weight upon the handwriting of histor- 
ical persons, unless I can obtain intimate letters instead 
of official specimens, and my advise to all, especially 
those just beginning the study of graphology, is, to 
occupy themselves at first with handwritings of people 


50 


whom they know personally, for then they will be able 
to compare their results with their knowledge of the 
person. 

We will have to keep in mind the fact that the un- 
changeable in every person, that is his general charac- 
ter, expresses itself more in the form and shape of the 
different letters, while expression of feelings, desires, 
passions and passing conditions find their way of com- 
ing to the front in the little “odds and ends” around 
the letters, as the dots over the i, the dashes across the 
t, in the penstrokes at the beginning or the endings of 
the words and lines, etc. We might compare these 
latter signs with the certain involuntary movements of 
people, which so often attract our attention in our daily 
contact with them. The same is true of their hand- 
writing, into which these same involuntary movements 
were placed or found expression, by making little 
hooks or bows, etc. They give us an excellent opportun- 
ity to study and observe the writers in their innermost 
life. They are simply imitations of the writers move- 
ments in life. How often do we see in handwriting 
the closed fist of the angry and quick tempered man or 
woman, the laughing eyes of the humorist, the uplifted 
finger of the teacher or professor, or the pointing fore- 
finger of the commander, whom we can almost hear 
saying: “Thus be it! I will have it this way and no 
other!” 


















I'D 

a 


£ 









General Characteristics or Foundation Types. 

It matters little, as I have mentioned before, in what 
language the letter or specimen of writing is written, 
which we desire to analyze, if we are, at least to some 
extent, acquainted or conversant with the style of writing 
taught in the country where the writer learned to write. 
The expansion or contraction of the different letters, 
which give some of the best clews to the graphologist 
for his work, may be summed up in the following five 
principal parts: (i.) The degree of the slope or slant 






Pi a 36 , 


OjUL 


6o 


of the letters, see illustration Fig. 4. (2.) The con- 

nections between the letters, whether sharp and angu- 
lar, or round and curved, see illustration Fig. 5. (3.) 

The length of those connections, see illustration Fig. 6. 
(4.) The pressure used to write the letters, see illustra- 
tion Fig. 7, and (5.) The disconnections between the 
different letters and words, see illustration Fig. 8. 



osyuLr AJnh 

yy\jr$\Ji)U- 

'idxt' XasruL uAdA 


f=-i c 37 . 


The peculiarities of handwriting are either the cor- 
responding with the school copy book, or the difference 
between the writing itself and the copy book. These 
differences must be studied as to their quality and quan- 
tity in each specimen in order to get their relative 
worth. As a rule, we are taught to write our letters 
sloping from an angle of forty-five degrees to an angle 
of sixty degrees, except of course, where the vertical 
handwriting, so pernicious to children, has been taught. 
Many handwritings show great differences right here, 


















67 


and are either below the forty-fifth degree or above the six- 
tieth degree, with all the letters of the specimen having 
the same slope, while others again vary a great deal and 
run all the way from a slope of thirty degrees and less, 
to a slope of seventy-five degrees or more in the same 
specimen. Others show only a difference in the slope 
in one or two letters or at the beginning or ending of a 
word. 




41, 


Let us look at some of these peculiarities, with the 
understanding of course, that no character can be 
judged or opinion formed from merely one or two signs. 


w e# T(\ /ffi (fl 


Pig 42, 


68 


A careful combination of all signs found in a writing 
and their relative worth to each other must be consid- 
ered in all readings. The specimens shown here will 



Pig 43 


be considered as illustrating only each specific point or 
sign, without their relation to other signs shown per- 
haps in the same specimen. 

Fig. 9 gives us 
a specimen where 
the writing slopes 
less than 45 de- 
grees and we may 
safely say that 
such writers are 
persons who 
would become 
rather quickly ex- 
cited, that they 
are over sensitive 
natures, have 
little moderation in their actions or speech, and are con- 
trolled generally by their feelings. 

In Fig. 10, we have the usual or normal slope of 
about forty-five to sixty degrees, and the general charac- 


CJC 



f/C 4 4 


ter of the writer might be analysed as having a moder- 
ate temperament, he is not over-passionate, and not so 
much controlled by his heart, as by his mind. Many 
business men write such a sloping hand. 

Fig. ii, which is a woman’s writing, shows a slope 


above sixty 
degrees and 
here the 
mind rules. 
The heart, 
with its feel- 
ings, is con- 
sidered a 1 - 
ways after- 






wards. There is equanimity and calmness generally 
found in persons writing this way. 


I'C ^ 


pic 4b. 


In Fig. 12, the mind controls entirely, there is rather 
a lack of feeling; coldness, almost insensibility to the 
feelings of others, are characteristics found in persons 
writing such a sloping hand. 

The heart is put under foot entirely in Fig. 13, little 
sense of feeling is shown, often a disguised character 


70 


writes such a hand ; many deceivers write thus, and it 
is very seldom safe to trust persons, who write such a 
backward slope, as shown in this specimen, unless they 
acquired the habit in their business or profession, as 
librarians, teachers, and statisticians often do. But all of 
these persons usually write a different hand in letters 
to friends. If they do not, look out for them. 



F-ig 47 


Fig. 14 shows a changing of the slope in nearly every 
word, and we have in the writer’s nature : nervousness, 
unrest, changing between mind and heart control. Such 
writers often blow with the wind hither and thither and 
are to be considered as unstable, they do not feel very 
uneasy, when they are telling an untruth. They have 
easy, elastic consciences. 

There are several interesting sub-divisions, which we 
might consider at this time. 



P*ic AZ. 































































































































































































73 


In Fig. 15, the ending of the words slope or lean less 
than the beginning of the words, and this character- 
istic sign proves to us a carefully considered, gradual 
moderation of the expressions and desires of the heart. 
Such writer’s will and mind control and overcome any 
feeling or emotion, which they perhaps at first may 
have expressed, while in our next illustration, Fig. 16, 


Pic 50 . * 


we find at first great self control in the writer, but at 
last the feelings of the heart gained the victory and won 
the day. You will notice that the first letters of the 
words in this specimen are nearly straight, while the 
last letters of the words are much more sloping. You 
perhaps have met men, who were at first stern and cold, 
but who after a little while warmed up and at last 
became real social, genial and even friendly. Frequent- 
ly letters of such men to their friends are written in quite 


74 


a sloping manner, while their business epistles are made 
up of letters standing straight and stiff, and no sense of 
feeling can be found in them. Such people are frequent- 
ly very hard on their employees and subordinates, while 
in their homes, they are warm hearted, generous and 
confiding persons. 



Look at Fig. 17, where we find the last stroke of the 
letters g and y in many words changed into a down- 
ward stroke. If this characteristic sign is found in the 
beginning or the middle of the word, it is a sure sign of 
stubbornness, and of a domineering spirit, but if it is 
found only on the end of words, as we can see in illus- 
tration Fig. 18, it means rather a spirit of independence 
and in connection with other signs, also love of truth 
and justice. One will see that there are fine and deli- 
/ cate distinctions to be made and one sign may have 


75 


several different meanings under as many different cir- 
cumstances, for if the above change of the slope occurs 
only on the ends of the lines, it may be safely analysed 
as carefulness, even as mistrust of others. 

In Fig. 19 we find a very strong love of truth, a 
fine sense of right and wrong and a great love of inde- 
pendence marked very plainly in the change of the 
regular slope of the last stroke of the letter of the words. 
We often have a goodly touch of egotism and selfish- 
ness in the writer’s character, if the first or last stroke 
of the words curve very much inward, as in the speci- 
men shown in Fig. 20. 

The t dashes tell us a great deal of the character of 
the writer and should be carefully studied and consid- 
ered in each specimen. If they are made with long 





5Z. 


strokes, running upward as in Fig. 21, we have love for 
enterprise, a goodly quantity of zeal and ambition, also 
a great deal of enthusiasm, in these long upward strokes, 


76 

which according to the copy book, should be made hori- 
zontally or nearly so. The longer the t dashes, the 
more enthusiastic and optimistic is the writer. 

Energetic people make their t dashes generally, but 
not always, with a heavy downward stroke as in illus- 
tration Fig. 22, which is just the opposite stroke from 
the preceeding one. Some persons make no dash or 
stroke whatever, but bring the last penstroke of the t to 
an abrupt end. We can, without much trouble, locate 
“ ability to stick to one’s purpose” in the writer, border- 
ing on obstinacy, especially if they run strongly marked 
throughout the entire writing. Such a person will 
hold to his views, no matter what may happen, and if 
confirmed in connection with other signs of energy, 
such natures will brush aside unmercifully all, who 
may be in their way, so that they may win and carry 
out their purpose and design. 

We now come to the next step of our study, namely 
the consideration of the manner in which the writer 
makes his connections between each letter, whether 
these connections are long or short, and whether his 
writing is round, or sharp and angular, large, or small 
and fine. These points should also be classed among 
the general signs and might serve as a sort of founda- 
tion basis for the complete reading of each character. 
They give somewhat of the writer’s standing to the 
world at large, they tell us of his will and of his self- 
consciousness. 

There is enterprise and the desire to do great things 
shown in the large handwriting; see Fig. 23. Some- 


Fng.SS. 









































































































































































































































' 






































































- 



















































































* 

in 

« 

o 


4 











85 


times we may analyze this as nobility of character, if 
the relation to the other signs corresponds. Then there 



are love for luxuries, also independence and pride, found 
in such writers; they possess frequently much more 



F>4G.5S, 


will power than the writers of very small letters, and 
are broad and liberal in their views, but are also more 


86 


able to spend tbeir money. Many spendthrifts write a 
large hand with plenty of room between the lines. Fig. 
23A is the writing of a person who is always out of 
money he never can keep any in his pockets. 

In considering both large and small handwriting, we 
must not neglect to allow for every other sign and char- 
acteristic which shows itself, else our deduction may 
be one-sided. 

What do we find in such small handwritings for in- 
stance as the two illustrations Fig. 24 and 25 show? 
There is often a fine sense of observation, carefulness 
and simplicity present in the writer; a critical speaker 
often uses such a hand. There is also great organiza- 
tion ability shown here. Fig. 24 is taken from a letter 
of a German Minister of State, while the specimen Fig. 
25 was written by a New York judge. Frequently we 
run across a small handwriting, which shows the writer 
to be rather narrow minded and to be a person who will 
fight for ten cents and go to law about it, where others 
would not do this if thousands of dollars were involved. 
Economical, careful persons write small hands as a rule. 
Look at the closely written specimen shown in Fig 26, 
which was taken from the letter of a person, who 
wanted everybody to give freely, but who himself never 
gave anything to any worthy object. Avarice and 
miserly habits are characteristic of most such writers. 

Persons who write such sharp letters, and make clear 
cut corners, where rounded and graceful curves ought 
to be, as in Fig. 27, have great power of resistance. 
Some of their characteristics are also severeness and 


































93 


rudeness, excitability and anger. They are often in- 
clined to be ratber selfish, while the users of a well 
rounded hand, like the two specimens Fig. 28 and 29, 
show the very opposite traits of character. We find 
here little power to resist. There is a great deal of 
mildness of disposition and perhaps benevolence present, 
but such writers are very easily influenced by others, 
and can be more quickly led around to other peopled 
opinions. It is harder for them to say “No” than it is 
for the man who writes the sharp or pointed hand. 
If you are in doubt as to whether a handwriting is sharp 
or round, look closely at the curves and formation of 
the smaller letters, the i, n, m, o, a, b, t, see Fig. 30. 


oJtk-JUL -~- 

'T'C S Ou-O <5<L 




Pig 62 . 


The degree of difference between the one character- 
istic trait and the other is naturally judged by the de- 
gree of sharpness or of roundness of each specimen, and 
is to be considered in our analysis in each case. 


94 


We may now look at some more marked signs of indi- 
viduality of character, which are found along this same 
line. A person inclined toward business and of a prac- 
tical mind will make the downstrokes of all long letters, 
see Fig. 31, much longer below the line than above it, 








fSc 63 . 


while the professional man, the idealist, and dreamers 
also, will do the very opposite and write more above the 
line. The first way of writing will also indicate a love 
for sports and athletics and show technical abilities, and 
the other, see Fig. 32, show more mental and spiritual 
inclinations. Religion will appeal quicker to the latter. 
We have in the above two specimens excellent illustra- 
tions of each sign. The writers of these specimens, as 
well as of all other specimens used in this book, with 
only a very few exceptions, were or are personally 
known to the author who has met them frequently, and 


95 


it was therefore comparatively easy to search for the 
correctness and truth of the readings of each handwrit- 
ing. Among the signature specimens shown later, I 
present several handwriting specimens, mostly signa- 
tures of prominent or well known persons, which will be 
interesting to the student, but all of whom I have not 
had the pleasure of meeting personally. 



f“ic 64. 

Fig. 33 brings us a specimen of writing we meet with 
frequently among leaders of men. Persons, who change 
the length of their letters constantly, sometimes going 
much above the writing line, then again running far 
below, have many sided inclinations and organization 
ability, if other signs agree. They are able to reach, 
converse with and hold others, making things go where 
others failed. 

If we find a person changing the letters in his writ- 
ing from large to smaller letters in order to fill out a 


9 6 

line, or to get on a page all lie desires to write, so as 
not to start another line or page, we may ascribe to him 
ability to adapt himself to circumstances and economy. 
Sometimes you receive a letter and find on the last page 
nothing but one or two words, which could have found 
plenty of room on the previous page, but the writer 
simply started upon a new page or even a new sheet, 
just to say goodby and sign his name. Such people 
have not much power of adaptability and are frequently 
out of sorts with their environment, or at least think 
and feel themselves to be so. They also have difficulty 
in adapting themselves to new conditions and circum- 
stances and find it easier to spend money, than to make 
and keep it. 

If we find that both large and small letters are 
about of an even and regular height as in Fig. 34, we 
may analyze this as simplicity and moderation, while if 
on the other hand, they are rather different, perhaps as 
shown in Fig. 35, we can attribute generosity, indepen- 
dence, pride and ability for enthusiasm. 

The careful person, the reserved business man, who 
tells no one of his affairs, the man, of whom people say: 
i that they do not know him yet, though acquainted with 
him for years/ will write the last letters of each word 
smaller than the first. The specimen illustrated by 
Fig. 36, gives a good example for our study. Many law- 
yers write such a hand. I have also found this style of 
writing to have been more imitated and copied than any 
other. If other graphological signs correspond, we find 
cunning and trickery to be frequently present m such 













99 


handwriting. If the specimen we are to analyze, was 
written in a hurry for some reason or another, we must, 
if acquainted with the fact, allow for this and analyze it 
as haste in writing, if we do not know it, we can be 
quite sure, if the words are drawn out into thread-like 
lines, as this is very often a sign of haste and hurry in 
writing. People will naturally write somewhat differ- 
ent from their usual way, when dashing off a telegram 
or a few lines just before the train, which they intend 
taking for a journey, starts. 



If the letters in the word endings are larger than in 
the beginning we have confidence, benevolence and gener- 
osity. Children and child-like natures write thus, also 
idiots and extremely old people. Just as if they were go- 
ing back to their childhood, for nearly all children write 


IOO 


tills way, during their first years in school. The spe- 
cimens given here will illustrate sufficiently, see Fig. 
37 and 38. The first specimen is that of a child about 
six years old, the second was written by a person eighty- 
five years of age who was quite feeble and forgetful. 

Excitement, and, to some extent, nervousness, can be 
detected if we see that all the small letters of a writing 
are of different height or length, and are irregular in 
size, as in Fig. 39, which specimen shows also peculiar- 
ity and eccentricity in the character of the writer. 








We often run across people, who make their e and r 
a little larger or higher than their n or m and I would 
be much interested to learn, if you do not find quite a 
little pride and vanity in their nature. Many of them 
often think that they are just a little bit better than the 
other people in the world, believing that the world could 
not get along without them. Look at Fig. 40, notice 
the e in the words 1 evening ’ and ‘ myself.’ Many peo- 
ple who are interested in their dress more than they 
ought to be, write thus. You can see their hand go 



to 

VO 

♦ 

j 

£ 


















































. 






















































































































































































































103 


frequently to their necktie or bonnet, in order to find 
out whether these are on straight and look all right. 
They seem to be always at unrest and troubled about 
their dress. 

There is another sign to find out the degree of pride 
and independence which a writer possesses. Look at 
M, N, m, n, U or W, etc., in a handwriting specimen. 
The higher the first stroke of these letters extends over 
the next, the more pride and independence. Of course 



there are many kinds of pride. Some persons are natur- 
ally proud, some unnaturally, some have a sort of ac- 
quired pride, which is better known as ‘ false pride.’ 
There are born noblemen and noblewomen all over 
God’s wide world, — some born with a worldly noble 
title, some born without one, — who simply cannot help 
making the first part of their M much higher whenever 


* 


104 


they write it, but with them it is the pride which comes 
under the name of “ Natural Nobility.” They also pos- 
sess a fine sense of independence. A general and thor- 
ough study of the entire specimen of handwriting will 
aid us also in forming a correct opinion. I have here 
quite a number of M, clipped from letters of people I 
know personally, see Fig. 41. This raising of the first 


'rts(sL /ULtZsd 




<rv 


Fio.70. 




stroke of the letter M above the others is always con- 
sidered as the very best sign for the degree of indepen- 
dence the writer posesses. 

If all the down penstrokes of the M are of an even 
height, we have modesty and simplicity as character- 
istics of the writer. See Fig. 42. Such writers have 
not a very great amount of independence. They rather 







/ 







io7 


prefer to follow than to lead, and they very seldom hold 
positions where they must lead others. 

Again we come across the letter M with the first 
stroke lower than the second stroke or lower than the 
second and third strokes, like Fig. 43. This form is 
generally found in the writing of persons, who excel in 
little or nothing and in those who are very modest and 
bashful, persons who have to inquire the way they intend 
taking, from others. Now, if the M is spread out like 






fSc.Z2, 


the letter shown in Fig. 44, we may believe in the writ- 
er having a goodly amount of conceit and egotism, 
while the opposite is true of the writer of the specimen 
Fig. 45, where the letter M is written quite closely to- 
gether. There is always modesty and bashfulness, 
often also an absense of courage and energy in writers of 
such a closely written M. 


io8 


A good -sign of self conceit and vanity may also al- 
ways be found in tbe letters T and D, if tbe lower loop 
of these letters does not reach the line, as shown in Fig. 
46. Coquetry and an inclination for flirting can be 
safely ascribed to women who write such letters. Open 


tyj* j ft** 

■ M^</ } t&lUrm nm 



Pig. 73. 


D, as in Fig. 47, show openheartedness and frankness, 
while the hooked D presented in the specimen in Fig. 
48, means a spirit of criticism. This sign hardly ever 
fails. 

If we continue our study along the line of finding out 
characteristics of the will and self consciousness of a 
person and his position to the world, we must consider 
the eveness and regularity of the lines of the writing. 
In the specimen shown in Fig. 49, we have perfectly 










Ill 


straight lines, which in the writer’s character stand for 
steadfastness, will power, faithfulness, resoluteness and 
firmness. 

Where the lines take an upward turn, as shown in 
Fig. 50, we have hopefulness, optimism, enterprise, 
ambition, happiness, and if as in the next specimen, Fig. 
5 1 , the lines run downward and below the basis line, we 
may conclude that the writer has a certain amount of 
laziness, uncertainty, is easily discouraged, often proves 
to be a pessimist, and suffers frequently from melancholy. 


A/f A *” ****-*) 

ZCCy h 




9 


vr^ 

F/q js 




Such writers exhibit fear, where others are unable to 
see any reasons for being afraid, they are always cross- 
ing bridges before getting to them and are very often 
blue and low in spirit. Many of them show also signs 
of dishonesty, which often is combined with laziness. 
Allowance must be made of course for temporary ex- 
pressions of the above signs, as the writer may now and 


112 

then have cause to show them in his letters, for instance 
if illness, suffering, or sudden adversity have come to 
persons, they often will tell us of it by the downward 


/i 7 

/I - /3 


( 


/- 6 

F*i 0.76 • 


/ 


-? 


sloping of the lines in their letters, and after some days 
or weeks, when better days have come again and they 
can see the silver light under the clouds, they go back 
to their former style of writing. 


*t^4 JLJc-y^ Sfjt r^sr^^i 


Pig 77 - 




Have you never met the man, who started out so 
hopefully on a certain project, everything looked so 
bright and nice in the beginning, but somehow he did 
not finish in the way he started? Some one else gener- 
ally has to “ boost him up” to complete the job. Do 
you know such a person among your friends? Some 



one, who always says: “Oh yes. I’ll do it for you! 
No trouble at all! I’ll be there very surely at 6 P.M!”. 
And you feel so disappointed because he did not keep 
his promise, who is the same way in his business 
methods and who at last fails? Hunt up one of his 
letters and see if the lines do not first have an upward 
slope and toward the end of the line seem to go down 
hill. Something like Fig. 52. Such persons promise 
much, but the perseverance is lacking, disappointment 
and failure follow them everywhere. 

If you find that the lines run downward at first and 


then take an upward turn as in Fig. 53, you may con- 
clude that the writer has many doubts and fears in the 
beginning, but he gradually overcomes them through 
perseverance, courage, self-confidence and ambition, until 
he is crowned with success. 

Others start the beginning of each word always 
higher than the one preceding, because all of their 


'&tc/ 

y&ciy 

P <o.ZP. 


words take downward slopes. See for instance the 
specimen in Fig. 54. Such natures are constantly 
fighting against being discouraged and disappointed 
and are always very active persons. 



. ✓ 





In Fig. 55 we have an excellent illustration of lines 
running both up and down, one might call it almost a 
wavy line. There is little constancy but much unfaith- 
fulness in such a writer, if no other signs contradict, 
also much artifice, trickery and cunning, and he is a 
man of many whims. Such writers have much adapta- 
bility and organization power, also, if possessing energy, 



stubborn will power. Some graphologists claim that 
diplomats write thus. I do not put in a disclaimer, for 
I have known many diplomats, who possessed the above 
characteristics to a marked degree, while I have also 
known quite a few diplomats, who did NOT write in that 
manner, and who did not have the above characteristics 
in their writing. Of course, they were not, what the 
world calls “ good or successful diplomats.” Prince von 
Bismarck, the old German Iron Chancellor, wrote 


n8 


always in a wavering line as we can see in Fig. 56, which 
is a good specimen of his writing. It was written while 
he was still in full power as Chancellor of the German 
Empire and shows to us beautifully the “Iron Hand” 
of this great diplomat and great man as a man. Look 
at the regular, even size of his letters, all of them large 
and strongly outlined. In a letter I received from him 
after he retired to his home at Friedrichsruhe, he still 



FUq.81? 


used the same strongly marked strokes, but his lines 
were not as wavy in such a marked degree, they were 
showing more of a tendency to slope downward and do 
so with the ending of each word, although the very 
next word begins above the line again. 

If the principal parts of the letters are crowded to- 
gether, are narrow perhaps, as shown in the two spec- 
imens Fig. 57 and 58, we have moderation, modesty 
and reserve. The first is a woman’s writing and the 


other comes from a masculine hand. Such a writer has 
a nature that is always saving, and careful in spending 
money, an economical person writes thus and, if a 
woman, she will not cause her husband much trouble 
about extravagancy in housekeeping nor ask for many 
new bonnets and dresses. 

The spendthrift will generally write the principal 
part of his letters far apart, also natures, who have a 
good deal of importance, immoderation and arrogance 
in their character, see Fig. 59. We must be careful 
here as well as in all other cases to grade our opinion 
according to the degree of the signs shown, whether 
strong or weak. 

If we find, as in Fig. 60, the lesser parts of letters 
narrow and somewhat crowded, we have simplicity and 
carefulness and the writer has inclinations for profession 

P.G..-S2. 

and business, while if they are wide and drawn out, put 
down the writer as a jolly good fellow with little 
business qualities, but with perhaps a liking for art or 
music. It is strange that many authors and actors 
write such a hand. 

Many persons write both the principal and the lesser 
parts of their letters either close together or far apart. 


120 


In the specimen shown under Fig. 61, we have the 
handwriting of a nature, which is rather narrow hearted, 
small in little things, almost stingy and avaricious, and 
the narrower and closer together we find letters written, 
the nearer we come to avarice and miserly habits. Look 
at Fig. 62, note the difference in every letter. It does 



not take a graphologist to say that such writing could 
never have come from the hand of a miser or a close- 
fisted man. The open, generous hand of the writer 
seems to confront us everywhere, while in the other 
specimen, Fig. 61, we can almost see the closed fist of 
the writer holding on to the penny. But this specimen 
with the open hand, shows us also immoderation, care- 
lessness, yes even superficiality, especially in the large 


121 

letters. Such people are not overcareful in paying 
their debts, as they generally spend all their money 
very quickly and never have sufficient to pay old bills. 

Who does not know the man who is always ready to 
contradict what someone else has said or written? If 
you are speaking about a certain house being painted 



%. 

Pig. 5A. 


white, with green shutters, this person will generally 
claim that the house is not quite white, that one tenth 
shade of cream is in the color and that the green of the 


122 


shutters has just a trifle of blue or purple in it. And 
if you deny it, he will take issue with you and argue 
and oppose you until you give up in despair. Just 
watch him write a letter! See how he draws out the 
letters in the beginning of a word and how he pulls 
them closer and closer together as he finishes each 
word. Look at Fig. 63, which illustrates this point. 



The benevolent man, the person with the “good heart,” 
who loves to give for the sake of giving, writes his let- 
ters close together at first and when he reaches the end 
of a word, he expands, and makes his connections 
longer. See Fig. 64. Such natures are as a rule also 
quite lively and communicative. When we see this 
widening of letters toward the end of words on the 
ending of a line or in order to fill out space, we have 
before us a person with careful habits in his character. 

Many people express their feelings in many different 
ways in their handwriting. So far we have considered 



s6 

DO 

# 

o 

l 









«5 


with a few exceptions more the general aspect of writ- 
ing specimens in order to gain some foundation basis 
for our analysis. We will now turn to the little special 
things which mark the individualty of each writer so 
clearly. We mean the little hooks and bows here and 
there, the t dashes and the i dots and their relation to 
the character of the writer. 

We find, for instance, in the specimen Fig. 65, which 
by the way is the writing of a young lady, who was 




A 


/ / /w-w / 

/ 

A- J y 









Pic. 57. 


perfectly amiable whenever I met her,— very agreeable 
indeed — many little hooks added to the different letters. 
It seems as if each time when she made a stroke or 
lifted her pen tc finish a letter, she made a small hook, 
some are very small, but they are there. One day this 
young lady asked me to read her character from a 
specimen of her writing, and as I pointed out these 


126 


hooks to her, and told her their meaning, she remarked 
that “she would never make any more.” I wished her 
success and the very next day she came to my desk and 
exclaimed: “There, Mr. von Hagen, I told you that I 
would not make any more of your mean little hooks!” 
I looked and sure enough the first glance at the letter 





in her hand, revealed them not, but when I laid the 
microscope across her letter, the little hooks came out 
most beautifully, only a trifle smaller than formerly, 
and as my young lady saw them, she remarked: “And 
I tried for several hours to write this letter so carefully 
and tried so hard not make any hooks ! ” I explained 
that it would take more than one day to change her old 
habits and her character, but that she might succeed in 





V 
















































'■ 
































































































































































































129 


having these little hooks disappear from ner Handwrit- 
ing by persistently overcoming the temptation of: “I 
want my way!” Persons, who add such innocent little 
hooks to their letters, are often rather stubborn. They 
have perseverance, I will admit, but this perseverance 
is also necessary for good, old fashioned stubbornness. 
Obstinate and domineering spirits also make these 
hooks frequently. 

Now if these little hooks are enlarged and become 
bows, curving inward as in Fig. 66, we have natures 









4/r~4/kc, &t' 


tf^CO-C 

F»G 90 


capable of much selfishness, of covetousness, and im- 
portance, often also incompatibility is found in such 
writers. 

Whenever these bows or curved additions are very 
large and are made in addresses or at the beginning of 
a letter, you may rest assured that the writer generally 


130 


lays much stress upon non-important matters and upon 
little things ; that he likes to appear important, he also 
frequently suffers from pretension. Many so-called 
“ specialists’ ’ write in this way, and we all knew that 
this “ specialist” term is often only used to cover up 
ignorance on many other matters. 

Fig. 67 shows a few specially created bows. We run 
across them occasionally among some otherwise real 
good and noble characters. The writer of these speci- 
mens is a close friend of the author. He is one of the 
finest characters that I have met, always ready to do a 
favor, never idle, but ever working for others, a perfect 
gentleman in every sense of the word, and yet that lit- 
tle strange bow added on the lower loops of his g and y 
told me there was one wee little flaw, if I might call it 
so, for others 
might call it a 
good quality 
in him any- 
way. My 
friend i s al- 
ways very, 
very particu- 
lar that every- 
thing should 
be done just 
so, in strict ac- 
cordance with 
laws, rules, regulations, traditions and customs, no 
matter whether it is the deciding of a close slide at third 



Pic. 90? 

















































































































































































































































































































































































































































































































































































J 33 


base in our national game of baseball, or whether it is 
an important debate or some legal or business matter. 
Ceremoniousness and being very particular are qualities 
that may be safely ascribed to writers of such bows. 


\ '{k. /U 

rfJL oX /wiii 


/YrtJU 'VWA i 



P«c.92. 


Many of them are also a 1 
rather not go to church, if 
on their collar, even if that 
without excellent eyes, or 
even with a spy glass. 

Notafew persons make 
large, turning bows on the 
end of words like the 
writer of the specimen 
Fig. 68. Look for selfish- 
ness and flattery in their 
make-up, while obstinacy 
and stubbornness are part of 
downward endings to words 


ittle bit vain; they would 
they found a speck or spot 
spot could not be detected 


7 x 

p.c.yz? 


him who makes straight 
as shown in Fig. 69. 


T 34 

Rudeness and violent temper are also often character- 
qualities of such writers. 

Words underlined in letters give ns a desire to. be 
clear in stating a case, sometimes also enthusiasm. 


'ty 


^ An/ / ' d/jxX y^y 




FVft.93. 

We have now considered the unnecessary additions 
made to letters, and we may now turn to the other side, 
the voluntary omissions of cer- 
tain parts of letters. We may 
notice first the omission of 
necessary strokes of letters, as 
for instance the lacking of an 
i dot, the dash across a t and 
others. Such omissions we 
may lay to liveliness or, as the 
case may be, to superficiality, 

disorder and thoughtlessness. Careless clerks will 
write thus. 

But if less necessary parts are omitted, we find very 




P.C..94. 


^35 

interesting characteristics of the writer. If the end 
stroke of the g and d is left out and they look as in 
Fig. 70, we have carefulness, modesty, common sense, 
but often also nn sociability, if other signs agree. 

When o, a, g, and d are found to be more or less open 
at the top as in Fig. 71, we have openheartedness, 
frankness, sociability, generally also honesty and sin- 
cerity. Persons with minds that are able to give good 
sound judgment, and who love 
simplicity, who lay little stress 
upon exterior matters, frequently 
leave out the first bow or curve to 
a capital or other letter or draw 
double strokes together as in the 
letters 1 and f and h, so that these 
letters look like the specimens shown in Fig. 72 and 73. 

When the period is not found after the writer’s sig- 
nature, after the date or after the address, confidence 
may be one of the characteristics, but also carelessness 
in little things, or independence of other people’s opin- 
ions. We must here use our own judgment in each 
case in accordance with the other signs. 

Then we often notice that the first stroke of the first 
letter in a word has been left out, as in Fig. 74. We 
can put down carefulness and a love of order for the 
writer, while you had better not look for amiableness 
and sociability in him, who neglects to make the last 
stroke to the last letter of his words. He is generally 
a careful and unsocial person, who is very positive in 
his opinions and can be quite rude in defending them. 



136 

Sucli people have also the knack of saving and making 
money. — The writer of the next specimen, who is per- 
sonally well known to me, started in business for him- 
self, when only nineteen years old. Honesty, integrity 
and ability went along with activity, hard work and a 
love and willingness to work. He was exceedingly 
successful and became in a very few years a compara- 
tively well to do man, before others of his friends were 
even out of college. His handwriting explains what 
many who know him, call “luck and good fortune.” 
Reserve, willingness to work hard and long hours, 
thriftiness without being stingy, and positiveness in 
resolutions and opinions, are in the make-up of such 
writers. When their mind is made up once, they will 
quietly and consistently stick to it until they win out. 
I give a specimen of his writing in Fig. 75, showing 
the above explained characteristics very clearly. If we 
find in specimens small letters replaced by printed let- 
ters as A, B, we may consider this to be a sign of 
culture as well as of independence. Persons who do 
this frequently in their writing, have also a well devel- 
oped love for art, their taste is always artistic; there 
may be a little peculiarity about them, but one does not 
find many artists, who are not in some one thing at 
least “a trifle peculiar.” If you find letters replaced by 
Greek letters as a by a or b by / 3 , etc., you may conclude 
that the writer has some taste and culture, for unedu- 
cated persons cannot use Greek letters unless they 
copy them and are therefore pretenders, and if they are 
pretenders, one finds them out by other signs in their 





139 


writing very quickly. 

Strongly mathematical minds or those having much 
to do with figures all day long, often unconsciously 
make their letters look like figures. Very saving per- 
sons are inclined to do the same. Fig. 76 gives us a 
few specimens to illustrate this point. We find now 






and then a few letters looking like music notes or 
musical signs, and I have seen many letters from 


140 


musicians, where even an untrained eye could detect 
similarity between notes and the letters. But do not 
lay too much value upon this, as there is always a 
temptation to lead you to guessing. Better wait until 
you have had more practice before venturing upon find- 
ing out the occupation of persons by their handwriting. 
It can be done, but takes considerable preparation. If 
you find letters looking like music notes, do not con- 
clude immediately that the writer is a violinist, singer, 
or pianist, but rather say that he has musical inclina- 
tions, and then you will be quite near the truth, while 
by guessing at his profession, you will lose credit, un- 
less you were accidently correct. Practice, and noth- 
ing but practice, alongside of intuition, commonsense 
and hard study, will make a good graphologist in 
time, if one has love for its interesting and fascinating 
revelations. 

Consider for instance the will-power of the person 
whose handwriting is in your possession. Is he ener- 
getic or lazy, is he resolute or not, has he a strong 
power of resistance or will he fall when the first temp- 
tation comes along? Has he a sense of duty or not? 
I spent twelve years of my life as General Secretary of 
Young Men’s Christian Associations, and had occa- 
sion to keep in touch with men, whose peculiar hand- 
writing I had seen and who for that reason were of 
unusual interest to me as a graphologist. When I 
asked some young fellow, whose face was still rosy, and 
whose eyes were still clear and bright, after calling him 
into my private office, about his having fallen into a 















143 


temptation, the continuance of which would soon make 
him a bad and immoral man, he would look up aston- 
ished and bewildered and ask: “ Who has been in here 
and told you about me?” And often I answered by 
saying: “Why, old man, you wrote the whole story 
down yourself on your membership application blank.” 
Then he would deny it and that most emphatically. 



Fig. 99 . 


But when I read to him his entire character from the 
few lines at my disposal and soothed him down, he 
most always would thank me and leave my office with 
a grateful heart and a new purpose. Just look at the 
specimen of writing shown in Fig. 77. The weak 
character of the writer, his sensousness and immorality, 
meanness and vulgarity show very plainly in the heavy 


144 


strokes which look as if they were all flowing together, 
the bows and curves are not clear but dirty like. Dis- 
honesty is also brought out in this writing very 
strongly. How different shows the character of the 
writer of the specimen in Fig. 78. Here very little 
pressure is used by the writer, and his nature will show 
tender feelings and idealism, but perhaps also a lack of 
energy and power of resistance. We must not fail to 
allow in these cases for the kind of pen used, whether 
stub pen, sharp point or fountain pen. In Fig. 79, we 
see the regular and even pressure of the pen in each 
stroke just where it ought to be made. A regular 
changing of pressure in the heavy and fine strokes of 
the letters all through the writing denotes pow.er to 
work, diligence, perseverance and endurance, also an 
even temper. As a rule such writers can be depended 
upon. When this pressure is prolonged and the con- 
nections between different letters are strongly marked 
as in Fig. 80, we have also thoroughness, a strong 
sense of duty, faithfulness and often severity. 

Sometimes we have writing before us, where here and 
there parts of letters are heavy, the pen seems to have 
been suddenly pressed down hard and then again re- 
leased. Fig. 81 and 81 A are splendid specimens of 
such writing. A little vanity is always present in such 
cases and the writer’s energy is somewhat capricious. 
Such persons lay much stress upon the unnecessary 
matters of life. They also very often write capital let- 
ters with two or three penstrokes. If they do this, it 
only increases the amount of vanity and affectation 



d 


u 

i£ 


* 
































































































































































































































































































































































































































































































they possess. See Fig. 82. When the pressure grows 
less toward the end of the letters, as in Fig. 83, we have 
a love for criticism, often also sagacity among the 
writer’s general “make up.” While if the pressure 
grows from line to line and is quite strong at the close 
of the letter, you can safely figure upon energy and 
resolution, which may frequently crop out as vehem- 
ence and violence. Illustration No. 84 shows this 




Fwg. 103. 


growing pressure to a marked degree. The first line 
was the beginning of the letter and the last the closing 
line of the third page. 

You know the man and the young lady suffering so 
much from affectation? Do you know how he or she 
writes? Look at the specimen shown in illustration 
No. 85. Do you recognize that friend of yours who has 
that affected way of speaking? Just get out one of his 
letters from your drawer and see if he does not put 


152 


extra pressure into the first and into the last penstroke 
of his words. It is a sure way of telling. 

We are coming now to the connections and disconnec- 
tions between the different letters and words. People 
will connect letters for instance, which ought not to be 
connected. Such persons have generally a goodly 
stock of logic, especially if we find not only letters, but 



even words connected with each other. The writer of 
the specimen shown in Fig. 86 is a friend of the 
author. He is at the head of a large corporation and is 
a clear, level-headed business man, full of deduction, 
but not possessing any intuition whatsoever. 




153 

On the other hand, writers who never connect their 
letters, but always leave them separated, have no de- 
ductive powers, but have very much intuitive instinct 
instead. They judge largely by their sense of feeling. 
The specimens shown in Fig. 87 and 88 are fair examples 
of such writing. Such natures are rather difficult to get 



'iff-' 

Ft& jQf 



along with, they are always hard to convince, very 
nervous and sensitive and they often show stubborn- 
ness to a marked degree. When words and letters are 
more or less connected or disconnected, the graphologist 
must always weigh carefully the average number of 
connections or disconnections before passing his 
opinion. The more connections between letters, syl- 
lables and words, the more logic, sense of reality and 
adaptability are possessed by the writer. 


*54 


If the first or the last letters only of each word are 
not connected, as in Fig. 89 we have sagacity, insight 
and carefulness. Such writers generally stop to think 
and reason before the execution of any work and they 
are also good students and are persons of scholarly 
attainments. 

I desire once more to call attention to the little i dot 
and the tell-tale t dashes and explain some of their 



peculiarities. These little chaps tell us frequently a 
whole register of good and bad qualities regarding the 
man or woman, who created them. I might bring here 
a score of different specimens, which I clipped from 
letters, but they would only create confusion in the 
mind of the reader and so I give only a few samples 


155 


and hope that those students who are interested, will 
try to get up a collection themselves of these and other 
letters of the alphabet. Persons, who make their i dots 
close to the letter, as the writer of the specimen in Fig. 
90, are natures who are painfully exact in their doings, 
while the i dot away from the letter and high up in the 
air, means ability for liveliness and enthusiasm. Ideal- 
ists always have their i dots flying high up and ahead 
of the letter itself, as in Fig. 90 A. The same is true 
of the t dashes. Fig. 91 gives us love for enthusiasm 
and enterprise, also ability to talk and be sociable, while 



Fig. 92 says: “Be careful, old fellow, be careful.” 
Disappointment will also make itself known by such t 
dashes, especially if they are made in front of the t, as 
in Fig. 92 A. Energy is shown in the downward t 
dash, as shown in the specimen Fig. 93. 


I 56 

Dashes ending in a point or ending like sharp clubs, 
as those given in illustration Fig. 94, mean energy 
with less brutality than the club like dash, beginning 
as a point, like the one shown in Fig. 95. The long 
dash high over the letter t, as in Fig. 96, — which is a 
most peculiar specimen of handwriting, — stands for 
tyranny and a domineering spirit, especially in house- 
hold matters. Better not court young ladies who write 
thus. 

I have in the preceding matter given a thorough 
explanation of nearly all the simple signs known to the 
graphologist. I left out those of which I am not per- 
fectly positive as to their value and may offer them 
with later results at another time to the interested. It 
must not be forgotten that after a thorough study and 
practice of the foregoing, deductions and combinations 
may be found in order to get at the real kernel of the 
science. I give a few combinations, and will let the 
student himself study out more. An observing mind 
can easily put two and two together and watch the 
result. I will be pleased to learn of new signs found or 
combinations proven by any reader of this volume. 
While I have made thousands of correct readings of 
character, in which I included giving the color of the 
hair or eyes of the writer, or his age, I will not at this 
time care to give any resultants, for fear that they 
might not turn out to be quite correct in inexperienced 
hands. There is so very much yet to be studied out by 
the graphologist, that it is best to go ahead carefully 
and slowly. 












































































































































































































































































































































































































































































































































































































































































































































































































































































i 






In making final deductions, look once more over the 
handwriting you have been analyzing and notice how 
the distance between the lines has been kept. Is it as 
in Fig. 97, quite a good distance between the lines, with 






ft*, fit. 


no letters touching each other, then allow for clearness 
of mind and watch out for spendthriftiness. Are the 
lines running into each other as in Fig. 98 and 99, you 
will have natures which are seldom clear in their state- 



ments, they are often much confused and sort of 
muddle headed, but always very talkative. 

Saving and careful natures, many over-economical and 
stingy ones also, have very little distance between their 


164 

lines, see the specimen Fig. 100. We must note also 
the width of the space, which the writer leaves on the 



Pig. 113 . 



Pig. 114 . 


left side of the page of his letter. Is this space wide, 
so apply taste, but also waste. If it is narrow, so think 
him to be saving. If the space changes from wide to 
narrow and back again, allow for very little love for 
order and taste, but for much disorder and carelessness. 
More combinations can be made ad libitum. 


About Peculiar Handwritings. 

Quite a few people are able to write with both left 
and right hand. A young man of my acquaintance 
has the gift or ability to write with both hands at the 





P-ig.115. 


same time. The peculiarity is, that his right hand 
writing is normal, while his left hand writing is a 



PiG.llb- 


mirror-script, i.e.,the writing must be held before a mir- 
ror in order to be read. I give two specimens of his handi- 
craft in Fig. ioi and 102. The first is his regular 


1 66 


right-handed writing and the other, the left-handed 
specimen. In analysing them separately, we find the 
same characteristics in each writing. It is, by the way, 
easier for a right-handed person to write this mirror 
script with his left hand than the normal writing, 



unless he practices especially with his left hand. 
There are many left-handed writers, whose writing can 
hardly be distinguished from right-handed writers, even 
their slope is correct, although many write a back 



Pic. 115. 


slope. In Fig. 103, we have a left-handed writing of a 
man who had lost his right arm and was obliged to 
write with his left hand. 


167 

Just to show that we must not be deceived by beauti- 
ful or correct handwriting, and for that reason believe 
the writer to be honest, moral and faithful, by merely 
looking at the specimen before us, without a thorough 
analysation of the same, I give here a few specimens 
for study. All of them appear to be well written and 
look quite like fair handwriting specimens. Fig. 104, 





PigJI9. 


105 and 106 were written by persons, who cheated, 
deceived and stole, but were cunning enough not to get 
caught. The writers of Fig. 107 and 108 were also 
swindlers and embezzlers, who confessed their crimes 
and begged to be forgiven, 
only to fall again, when the 
next temptation came. Fig. 

109 was written by a forger, 
while he was still in prison. 

The specimen Fig. 1 10 is the 
writing of a clerk, who never 
will be more than a clerk all 
his life. There is no independence present, simply a 
copy of letters as he learned them when at school. 


(Ktr.jr/t/ t 



Pjg.120 


i68 


We have given now a sufficient explanation of plain, 
simple signs, which we meet with in all handwriting, 
and which any one interested ought to be able to read 
and find quickly. In order to help the student, I have 


JC. 


Ft a is./ 


made out a tabular index for all signs described, with 
their explanations, and giving the numbers of the illus- 
trations, where the different signs may be found. This 
will aid the student in making his analysis, and if he 



has practiced and studied these simple signs as long as 
he finds them of interest to him, let him test his knowl- 
edge by analysing some writings of persons whom he 
knows. Later, I desire to offer the very interesting 
results of the combination signs of graphology and the 


169 

practical analysing of letters leading to the work of the 
handwriting experts at our courts. The results of com- 
bined signs may be even of more interest than the first 
plucking apart of a handwriting by finding all the in- 
terpretations of the simple signs, but the student had 
better wait until he has some practical work behind 



him. For instance, if we find in a handwriting the 
signs for (1) common talkativeness, (2) insincerity, (3) 
impenetrableness, and (4) meanness, we may form a 
combination of the writer having the characteristics of 
a malicious slanderer. And again if we have before us 
the signs of (1) much sensitiveness, and (2) egotism, we 
may be sure of jealousy in the writer’s nature. If we 
notice in a handwriting (1) ambition, (2) desire for 
riches, (3) excitement, (4) sensitiveness, we may be 
sure of a person, who has a love for gambling and often 
is a gambler. But these combinations will be spoken of 
at another time. Suffice it to say that there are several 
hundred of just such interesting combinations possible. 


170 


What an opportunity for the student of humanity! 
There is a great deal not yet discovered in the field of 
graphology, and it is very gratifying to see that psy- 
chologists take more and more interest in this science. 



pi g. 124. 


The many fancy bows and curves underneath sig- 
natures must be decided singly by the graphologist as 
in keeping with the general character of the writer. 



Pig. 125’. 


In a general way and in order to aid the student, who 
has perhaps only a signature to work out, I give a few 
explanations herewith, especially showing the lines or 
curves underneath the signatures. 

Fig. hi and 1 1 2 give us in the wavy line under the 
signature, humor and love of fun. 


I 7 I 

Fig. 1 13 and 114 in the energetic strong line from 
the right to the left, energy, combativeness, perseverance. 

Fig. 1 15 and 116 in the strongly marked line from 
the left to the right, aggressiveness, enterprise. 

Fig. 1 17 and 118 give ns in the shorter, but still 
energetic and strongly marked end-stroke: commercial 
ability, also enterprise and organization power. 

Fig. 1 19 and 120 tell ns in the short, but rather 
mixed up line, of intrigue, sarcasm and cunning. 



Fig. 12 1 and 122 show us in the flowing curves: 
elegance, good taste. 

Fig. 123 gives in the curves in their ugly form, a love 
for material things, also selfishness and importance. 

Fig. 124 and 125 tell in their zigzag and club like 
lines of stubbornness, but also of energy. 

Fig. 126 shows in the incurving of the name a love of 
flattery, egotism, vanity. 

Fig. 127 is a peculiar specimen. It is the signature 
of Gould Hawley, who at the time of his death was the 
oldest postmaster in the United States. He was for 
over 50 years the postmaster at South Salem, N. Y., 
and many are the stories, which are told of this man, 
who was known by the name of “ Uncle Gould Hawley,” 


172 


and who must have been a very quaint and eccentric 
character. Look at the man’s signature and the curves 
and flourishes all through the writing. One of the 
best stories told of him is the following: Uncle Gould 
Hawley combined with the post office a general store, 
where he not only sold goods of all kinds and of every 
description, but also gave out advice on all matters to 
everybody. He had funny ways about him and was 
always ready to play a practical joke. One day, a 
farmer, by the name of Milo Webster, came to the 
store. He was leading a cow by a rope and inquired 
for Uncle Gould. When Uncle Gould appeared, Milo 
asked for something to help his cow, which was suf- 
fering from some skin disease. Uncle Gould called 
out to him: “ Just rub some oil on her and rub it well 
over her whole body.” The farmer asked him to do 
it for him, as the cow was of the kicking kind, prom- 
ising to hold her by the horns until the oil was ap- 
plied. Uncle Gould winked at the bystanders, got a 
six quart pail full of oil, went out to the man with 
the cow and told him to take her by the horns and 
hold her good and tight. He then took up a position 
behind the cow, holding the pail of oil in both hands 
and cried out to the farmer: “Now hold her, Milo! 
Hold her, Milo!” Then suddenly he let the oil fly 
over the cow and poor Milo Webster also, while he 
dropped the pail and sat down on the steps of the store 
and roared with laughter at poor Milo, who was try- 
ing to wipe his eyes clear of the oil, while the cow was 
going at full speed down the road. Such eccentricity 



/ 2 7 





























































































































































































































































































































































I 75 

witli a goodly sense of humor, importance and peculi- 
arity is quickly found in Uncle Gould’s signature, and 
may be easily detected in others with similar flourishes. 

Fig. 128, which is the signature of the famous evan- 
gelist D. L. Moody, shows us in its very simplicity and 
clearness, the great man’s character. 

The signatures shown under Fig. 129 to Fig. 140 
will prove of interest to many readers. I selected them 
carefully as representative types of different, yet some- 
what similar characters, in order to show the many 



different graphological signs, giving the same charac- 
teristics. Take the first seven signatures for instance. 
A page of fighters ! Look at the neat, woman-like hand 
of Field-Marshall Count von Moltke, Fig. 129, Ger- 
many’s greatest general and strategian. Take the 
next, Fig. 130, New York’s City District Attorney, full 
of fight and courage. Fig.-&§6 is General von Walder- 
see’s hand, whose characteristics combine courage, 
fighting ability and combativeness with tenderness to 
the latter of which his American wife can testify. 


1 76 

Take the next illustration, Fig. 132, the signature of 
the hero of Manila Bay, Admiral Dewey, notice the 
signs for brave courage as well as diplomacy. Fig. 132 
gives the signature of Bob Fitzsimmons and Fig. 133, 
the one of John L. Sullivan, both of whom held the 
prize-fighter championship for several years. The 
brutal courage of Napoleon I. is given very strongly in 
his signature, see Fig. 135, where we find also energy, 
stubbornness and combativeness. 

The other page of signatures contains names of men 
of letters, art, statesmanship and religion, which are good 
illustrations of each profession named. Fig. 136 shows 
literary ability to a great extent and scholarly attain- 
ments. The well-known leader of the Salvation Army, 
whose signature we give in illustration Fig. 137, shows 
us rather a cold, harsh nature, whose will must be done, 
an unyielding character and much out of place with our 
general view of the emotional religion as well as the 
tender welldoing of the Salvation Army. The musi- 
cian, whose artistic ability we can see marked plainly 
in Fig. 138, is the signature of the great pianist Pad- 
erewski. Literary ability, frankness and a strong love 
for what is right and just, are shown in Fig. 139, the 
signature of Count Leo Tolstoi, the great Russian 
author and economist. The next and last signature, 
Fig. 140, is that of our martyred President, William 
McKinley, and it seems as if we could see the nobility of 
the man standing right out, his characteristics show 
generousness to a fault, statesmanship and diplomacy, 
kindness and courage. 




Fta /2f 


jl 

/FtC* /3c 




^/a /ss 



^ /<* / ^ <T 












/3C . 



/ 37 



/^«y 


« 5 ^ 



/^/a /3f 





Fid i40 













































































































































































































































































































































































































































INDEX OF SIGNS. 

“ A man’s character is like a fence, it cannot 
be strengthened by whitewash.” 

An index or register, can be used in graphology as well as in any 
other study or science. I would advise the student not to fall into 
temptation and go through this index with a specimen of handwriting 
and when one or two signs are found, which appear to correspond 
with the ones in the specimen, to immediately make positive state- 
ments. These explanations of signs must not be taken in their very 
strictest sence of meaning as single signs, for a character reading can- 
not be given from one or two signs only. It is best to take this index 
as a sort of guide-post to lead you into the righu way. Never forget 
that this or that sign may be weakened or strengthened by other signs 
and always consider in what degree of strength a sign appears m the 
specimen of writing which you are analysing. Do not neglect to 
allow for exterior influences upon the writer, as for instance a very 
sharp pen in the hands of a person used to a stub-pen or vice versa, 
or perhaps the smoothness or roughness of the paper, left-handed 
writing and many other influences. In the list given herewith, the 
illustrations pointed out are different ones selected from this volume, 
which specify or show especially strong the sign indicated. 


SIMPLE SIGNS. 


(i) The Writing in General. 


Sign . See Fig . 

Writing is clearly written, 23, 33, 70, 
Writing is not clear, rather 39, 98, 99, 
mixed up, 


Indicates. 

Clearness, simplicity, taste. 
Not very clear headed per- 
son, nervousness. 


1 82 


Sign . 

See Fig. 

Writing is simple and 

53, 57, 

plain, 


Writing is full of large 

66 , 83, 

bows, etc., 


Writing is very sloping, 

9,21,69,99, 

Writing is less sloping, 

10, 65, 

Writing is nearly perpen- 

11,25, 56, 

dicular, 


Writing is perpendicular, 

12, 86, 

Writing is backward, 

13, 92, 

Writing is now sloping, 

14, 85, 

now straight, now back- 
ward and again sloping, 


Writing is sharp, 

27, 56, 60, 

Writing is round, 

28, 29, 105, 
107, 

Writing is lively and flow- 

19,59,71,91, 

ing, 


Writing is large, 

56, 79, 97, 

Writing is small, 

25, 87, 

Writing is close together, 

57, 58, 

Writing is very close 

26, 61, 

together, 



Indicates . 

Modesty, naturalness, sim- 
plicity. 

Vanity, affectation, impor- 
tance. 

Sensitiveness, passionate- 
ness, excitability, feel- 
ing controls. 

Not very passionate, cooler 
nature, but still emo- 
tional. 

Mind controls, calmness. 

Mind controls, lack of 
feeling, coldness. 

Feeling suppressed, preten- 
sion, disguise. 

Unrest, inner conflicts, 
wavering between mind 
and heart. 

Resistance power, severity, 
positiveness, stubborn- 
ness. 

Little resistance power, 
weakness, generosity. 

Jollity, activity, liveliness. 

Enterprise, desire to do 
great things, nobility, 
pride. 

Observation, criticism, 
simplicity, narrowmind- 
edness. 

Moderation, thriftiness, 
carefulness. 

Meanness, avarice, stingi- 
ness. 


Indicates . 



183 

Sign . 

See Fig. 

Writing is drawn out wide, 

35, 97, 

Writing is calligraphically 
correct, 

Writing is orderly, 

57, HO, 

18, 31, 70, 

Writing is disorderly, 
Writing is thin, 

39, 98, 

34, 78, 

Writing is heavy, 

H, 73, 

Writing is with even pres- 
sure, 

49, 56, 80, 

Writing is thick and dirty, 
Writing is heavy in a few 
places, 

Writing is harmonious, 

77, 104, 
81,85, 

19, 23 , 33, 

Writing is unharmonious, 

9, 14, 77, 


Immoderation, superficial- 
ity, generosity, careless- 
ness. 

Little mental independ- 
ence. 

Sense for order, careful- 
ness. 

Disorder, thoughtlessness. 

Tenderness, idealism, little 
resistance power. 

Resoluteness, will power, 
obstinate diligence. 

Power to work, diligence, 
perseverance, depend- 
ence upon. 

Sensuousness, meanness. 

Vanity, capricious energy. 

Clear and level-headed 
nature. 

Weak character, hard work 
to keep himself under 
control. 


(2) The Letters in Ceneral. 


Sign . 


See Fig. 


Indicates . 


Letters are composed of 
two or more parts, 

Letters o, a, g, etc., are 
open above, 

Letters o, a, g, etc., are 
closed above, 

Letters 0 , a, g, etc., are 
open below, 


82, 


28,35, 71, 


57,96, 


Affectation, vanity. 

Frankness, sincerity (hon- 
esty) . 

Reservedness, discretion. 


107, 


Hypocrisy, dishonesty. 


Indicates . 


184 


Sign, 


See Fig, 


Letters are similar to 
printed letters, 


73, 


Letters are found replaced 
by Greek letters, 

Letters are without first 
or last stroke, 

Letters are looking similar 
to mathematical figures, 
Letters are looking similar 
to notes, 

Letters have capital letters 
replaced by small 
letters, 

Letters have small letters 
replaced by capitals, 
Letters are frequently re- 
placed by capitals, 


49, 70, 
76 , 80 , 


80 , 


39, 


Taste, culture, inclination 
toward art, independ- 
ence. 

Culture, education. 

Simplicity, modesty, calm- 
ness, clear judgment. 

Mathematical inclinations, 
saving nature. 

Musical inclinations. 

Moderation, simplicity, 
modesty. 

Liveliness, e n t h u siasm , 
thoughtfulness. 

Arrogance and impor- 
tance. 


(3) 

The Words. 

Sign. 

See Fig. 

Indicates , 

Words are connected, 

36, 80, 86, 

Logic; practical head, who 
does not invent, but acts 
and executes. 

Words are formed out of 
connected letters, 

22, 25, 

Logic, reasoning power. 

Words are formed out of 
many disconnected let- 
ters, 

87, 88, 

Intuition, theory, idealism, 
impulsiveness. 

Words are formed of let- 
ters all of even height, 

19, 53, 

Moderation, simplicity, 
order. 

Words are formed of let- 
ters of rather uneven 
height, 

60, 91, 

Openness, enthusiasm. 


Indicates. 


Sign . 

Words with letters grow- 
ing larger toward word 
ending, 

Words have letters grow- 
ing smaller toward end, 
Words have small letters 
of uneven height, 
Words have letters e, r, 
higher than n and m 
and a, 

Words have much space 
between each other, 
Words have little space 
between each other, 



185 

See Fig. 

37, 

38, 64, 

23, 

36, 

39, 

52, 

13, 

108, 

33, 

35, 71, 

58, 

61, 


Confidence, (childishness) , 
simplicity. 

Reserve, carefulness, (cun- 
ning). 

Nervousness, (illness). 

Pride, (conceit), independ- 
ence 

Waste, generosity clear- 
ness. 

Non-forwardness, unsoci- 
ability, avarice. 


(4 ) The Line. 

Sign. 

See Fig. 

Indicates. 

Lines are straight and 
even, 

19, 9 6, 100, 

Faithfulness, sincerity, 
will-power, firmness. 

Lines are ascending, 

50, 

Activity, enterprise, ambi- 
tion, optimism. 

Lines are descending, 

51, 

Pessimism, inactivity, lazi- 
ness (melancholy), dis- 
couragement. 

Lines are changing, are 
wavy, 

14, 52, 56, 

Inconstancy, unfaithful- 
ness, cunning, (diplo- 
m a c y ) , (unthankful- 
ness). 

Lines ascend at first and 
then descend, 

54, 

Enthusiastic at first, but 
not enough energy to 
finish to end. 

Lines are descending at 
first and then ascend, 

53, 

Hard work to begin, takes 
courage, gets hopeful 
and completes. 


Indicates. 


Sign . See Fig. 

Lines are formed of as- 15, 
cending words, each 
word beginning lower 
than ending of preced- 
ing, 

Lines have descending 54, 
words, each word be- 
ginning h lg h e r than 
ending of preceding, 


Moderation, no haste, 
constant consideration. 


Active character, fighting 
successfully against dis- 
appointments and dis- 
couragements. 


(5) Special Letters. 


Sign. 


See Fig. Indicates. 


D and L with first loop 
above line, 

M with evenly high 
strokes, 

M with first stroke higher 
than the other two, 

M with first stroke very 
high, 

M with middle stroke 
higher or lower than 
other two strokes, 

M very broad, 

M very narrow, 

M with hooks on each 
end, 

Slope of small letters 
changes in writing, 

Long letters are more de- 
veloped above the line 
than below, 

Long letters are more de- 
veloped below the line 
than above, 


46, 

42, 

41, 

41, 

44, 

45, 

44, 

14, 85, 

32, 36, 70, 

3L 


Conceit, vanity. 

Calmness, modesty, sim- 
plicity. 

Feeling of independence, 
(pride), (importance). 

Pride, condescension, in- 
dependence. 

uack of taste. 


Vanity, wastefulness. 

Lack of courage, modesty. 

Love of luxury. 

Whims, nervousness. 

Idealism, mental and spiri- 
tual interests strongest. 

Inclination toward busi- 
ness and technical pur- 
suits, sports. 


Indicates . 


Sign . 

Long letters well devel- 
oped above and below 
the line, 

Letters have little hooks 
added, 

Letters have little bows 
turning inward, 

Letter g has a sharp bow 
in loop, 

Large loops are made in 
words or address, 

Large loop underneath 
first word, 

Large loop above first 
word, 

Round loop on end of 
words to left, 

Sharp strokes downward 
on end of words, 
t dashes are short, 
t dashes are long, 
t dashes are downward, 
t dashes are made before 
the letter t, 

t dashes are made after t, 

t dashes are short and 
arrowlike, 

t dashes are long and 
pointed, 

t dashes are thick and 
clublike, 

t dashes are wavy, 
t dashes are high above 
the t, 


187 

See Fig. 
33, 56, 

65, 

20, 59, 

67, 

66 , 68 , 126 , 
59, 

127, 

20 , 

22, 31, 93, 

23, 92, 

10 , 11 , 21 , 
22, 93, 

19, 92 a } 

50, 52, 88, 

52, 

14, 55, 
11,94, 95, 

21, 73, 

90, 96, 


Enterprise, organiza t i 0 n 
ability, self-conscious- 
ness, (imagination). 

Obstinateness, persever- 
ance, domineering 
spirit, stubbornness. 

Selfishness, arrogance, un- 
sociability. 

Ceremoniousness, being 
very particular, vanity. 

Talkativeness, importance, 
conceit, coquetry. 

Vanity, conceit, pride. 

Patronizing spirit, love of 
protection. 

Selfishness, (flattery.) 

Stubbornness, violence. 

Exactness, carefulness. 

Enterprise, enthusiasm. 

Perseverance, energy. 

Disappointment, reflec- 
tion. 

Enterprise, enthusiasm, 
curiosity, ambition. 

Satyre, criticism, domi- 
neering. 

Meanness, malice, anger. 

Brutality, inconsiderate- 
ness. 

Jolliness, fun, humor. 

Love of authority, tyr- 
anny. 


1 88 


Sign . 

See Fig. 

Indicates. 

t is crossed just above 
line, 

63, 70, 

Perseverance and resist- 
ance. 

i dots are exactly over i, 

78, 90, 

Painfulness, exactness, 
carefulness. 

1 dots are high in air, 

90 a, 

Enthusiasm, enter prise, 
curiosity. 

1 dots are like dashes, 

50, 71, 

Liveliness, (energy.) 

i dots are left out, 

19, 91, 

Thoughtlessness, 1 1 v e 1 1 - 
ness. 

( 6 ) 

Signatures. 

Sign . 

See Fig . 

Indicates . 

Plain signature, just name, 

128 , 

Simplicity, clearness. 

Period or dash after name, 

124, 

Carefulness, mistrust. 

Signature underlined, 

115, 

Self-confidence, impor- 
tance. 

Signature has line above 
name, 

123 , 

Mental vanity, exaggera- 
tion. 

Signature has many bows, 
etc. 

123 , 127, 

( 7 ) Space. 

Pride, vanity. 

Sign. 

Space on left of letter is 
in proportion to size of 
paper, 

Space on left of letter is 
wide according to size 
of paper, 

See Fig. 

Indicates . 

Taste. 

Desire for originality. 

Space on left of letter is 
wide at top and narrow 
on bottom, 

21 , 73 , 

Inclination to spend money 
and be liberal, but com- 
bats against it success- 
fully. 


Indicates. 


Sign . 

Space on left of letter is 
narrow at top and wide 
at bottom, 

Space on left of letter is 
uneven, 

Space is left wide on right 
and left side of page, 

Space is missing entirely, 



189 

See Fig. 

15 , 

230, 

54 , 

83, 

23 , 


26 , 



Desires to save, but spends 
more all the time. 

Careless in spending 
money, little order, 
lively nature. 

Sense of taste, aesthetic. 

Thriftiness, inclining 
toward stinginess, little 
taste. 


Enough material for study has been given to enable the interested 
to form good conclusions and opinions from any handwriting speci- 
men and 1 cannot sufficiently warn the student to always remember, 
that he must not allow himself to be prejudiced by one or two simple 
signs. 

I close therefore this hand-book with the wish, that its perusal and 
study may not only help to while away a leisure hour now and then, 
but also that it may interest its readers more in the study of a thorough 
knowledge of themselves and their fellow men. 


Press of Hammond Printing Company 
1267 Broadway, New York. 




























































































' 









* 



A 



OC- 


vL : & A rvO C* ✓ . 

V ^ kP . * « * 3 N 0 v v V v a \ ' - 

^ ^*0, > x 0^ S s 'o V * < * o / > v <V 

'"' ' .*' * S**\ \ # % / -*' 

■ #*% \wk: ^ 




b ‘A <->>- 

__ X * 

A, / - 0 • 

* »~ §B0&^ ", *° ^ ° 



* r?- , 

^</> 0 


3 N 0 



^ O * * 0 

r ^> % „ o ^ 

'> 91 s ' 


O' 

O v aV - 

<f* <^V « 


/' % ‘ 
\ V ☆ o A. 

• *- U f y> 

^ S3 * 



o° 

A 


gv«* .a •*. - 

^ v \V* Vf, ^ 




7 * * s ^ * N 


\ 






' ^ ^ 


A . 1 1 * « - o 

^ c&CMI'SSr> <f> 

«>0 \ 


N r; 


^ // 



** 


.0 o 



<* 




* .9 * 0 ^ 0 

V 



J|V 

O * 


,0°, 



<V s 


V * J f -\- 

y , ^ . % •>> O * 

s .; 

^ : Wsm? * ,0 V ‘\ ° 

' ri 



«■* 

" ,, y 0 , v ^ 





'•A' O 



T 

^ >< 




r aj 

0 * 

A 

r ^ . 

y* > $* r^. * t zzy//u i jr s . 

■v % . v \*:*"'. > . A 3 ' % . x , 

>» " ^ ^ ^ c^'vli,A c o 0 - ^ <^ N 

v/% 2i : ^ f ; 7W^ - j 

if o O' o o V/ H k g * 0 O 

^ V <v ^1 ?> A 0^ v ✓ 

* A , ^ 'o. ** O s f ..S 

* * O^ 0^ C° N (< * *V ^ 

"I '-> A * v G v 

'ss? * - -A . |-4s ^ a\ 


O' 


o v 


^ 'V « r 

C, X> - > 

v O 

y 





"3^0 \V 

C> V N * ' * 0 / 


A * 


L*' 


; c % .< 


A 


,V ' 


<x v <p '- u y&Mm * 

,\V </>« ® v/SSYkP *. „ c 

• v cvv &' 

. , „ ’ -/u 7 0 « v * 

* ' 1 H k 'o .-• o 


5 N. y- 

% v V 

* V ,j,v * 

^ ">' - ixw. 




N C 


^ * ☆ * 


'++ v* : 


f « ^ ^ 


\° ^ * 

O C> 'v 

° * * 9 N ° 


/*, rT’* a' % , -»7;^' <?> o, * 

^ ^ ^ rs -s vV x ' *p 

^ ** v • % #' •* 1 ^ ^ 


\ 


P°x 



<\V <A _ 7 / / \N^\\V * 

^ „v 

A ^\,' - » * ^ 7 0 * ' ^ / ( 0 N, 

* AA/t?^ % ^ 0 ° * 




^ t i ' 



^ * A SS \\^ v , . \ 

*, .A °o. 

' •**. 7 
•» 1 * 

° v 0 o * 

N A ^ 

✓> 


-✓* 

/ 

v > * 9 VlInL'" C. 

* ^ o^' * jl\V 4 _ '>^. A * 

\ z 

> </>„ 



oc 



x G y 'V - ** 

’A 4 ^ ^ v 

c*f ■ * 

•/ 





* <x^> ^ 


v x ^ ' 1 * * 


-A o\' 
0.** ^ 

0 0> c 0 N 0 


u. 






^ > 

9 V s \nJ * C ^ V > <v S s 

/. .v. . v- . ^-. 


0 





, ^ 7 ^ ^ -. 

"777- A ,,, ^ 'o,, 

*>> v 

o 0 


V 






^ A 


J* 

^ W '^ r ' \ ,^v 

> A°‘ V S ^'"s C ^ 

^ /A ^ ITW^ A 

'S', c,- 

v^ T* 





V 1 


a- <p. « r/ 7 ^- 5 w » a 

^ v> Vf. 

A ^.V 

o. ' 0 * X ^ AT 

b. . 0 ' c 0 s c ♦ 'Zp 



r , . 
°, > 

' ^ ^ «ASBk% ^ 

o -S* c> 






^ 9 N 0 > \^> 

■ \> ^ W 0 / ^ 
^ - r ft a * ^ 

^ ^ ;Ar= 



\ 


oq* 


°$ i 

bj a A »■ 

* ^ V *■ t,„.' .o- -o. 

•> n> ''C' 






V> <v 

c, 

> *%■ 


'bp A 

v* v 





i 0 A v r -^> ^ 9 I V tt V s 

\> •. '■ * 0 /- \> 91 


£> Vf- * 



' 


^ aV ^ (KV^- */% r ' be *y * 

> -/>. z 


> A/. 


b o * O’ j, %<> 
v V vP 

* ' % , 

' v- v" 

<1 

• 0 o. » 

L * 


^ CC >3 - V/ 5 ^ 

C^ * ^ ^ ^ ay y y 

0 * A 0 N c - V\ ' * 0 s \ x V I B jj, 

^9 r° v * c^fv ^ ^ ,# V* ^ 







